The UK edition of Literary Wonderlands is now out, published by Modern Books. Here you can see the UK edition, the beginning of my chapter about Peter Pan in Kensington Gardens by J.M. Barrie, and the US edition playing spot the difference. I also wrote the chapters on I, Robot (Isaac Asimov), Invisible Cities (Italo Calvino) and Snow Crash (Neal Stephenson). I will be taking two copies to Sledge Lit 3 at the Quad in Derby on Saturday (25 November), where they will be joining many other fine books as prizes in the raffle.
I’m delighted to see that Dead Leaves, the new book by Andrew David Barker, for which I provided a developmental edit, has been declared runner up in the This Is Horror 2015 Awards for Best Novella. The book has received great reviews from The Eloquent Page, Mark West and James Everington. Andrew was kind enough to say ‘Gary Dalkin’s work on my second book, Dead Leaves, was invaluable. He was precise, succinct, with a fine attention to detail. Dalkin guided my story to publication with fair and balanced criticisms and queries, and picked up on things I probably wouldn’t have ever noticed. In short, his sharp critical eye improved my words and my book. An excellent editor.’ Above is a photo of Boo Books beautiful limited edition, designed like a 1980s VHS tape. And here is an interview I did with Andrew last year.
Jonathan Oliver is one of the UK’s top genre editors. He is also a novelist, short story author and creator of shared-worlds. Recently I interviewed him by email. – Gary Dalkin: “You are editor-in-chief of three imprints – Solaris, Ravenstone and Abaddon Books – all published by Rebellion Publishing Ltd. What is your background and how did you end up in your current position? Perhaps for readers who are not familiar with Rebellion you could outline the idea behind each of …
When it comes to literature men in the UK, US and Germany are reportedly in a tiny minority, reading just 20% of all fiction. Or so, writing in the Guardian, says Lionel Shriver. I don’t know if this is true. I know lots of men who read lots of fiction. Perhaps they are not representative. But then I assumed Lionel Shriver was a man. It’s an easy mistake to make. Shriver, a woman who changed her name from Margaret Ann, and won the female-only Orange Prize for Fiction for We Need to Talk About Kevin, offers what starts out as an excellent article about sexism in book marketing and cover design. She argues that despite the content of her novels having appeal to both sexes her publishers insist on trying to market her books to an entirely female audience using covers more appropriate to chick lit. Shriver describes one proposed cover, which she managed to veto, thus: ‘A winsome young lass in a floppy hat, gazing soulfully to the horizon in a windblown field – soft focus, in pastels’. Lionel adds, ‘…publishers presume that women only buy a book that looks soft and that appears to be all about women, even if it isn’t. Yet women, unlike men, buy books by and about both sexes.’ So having castigated her publishers for one sexist presumption, Lionel immediately spoils it with another, insulting and alienating half her potential readership. The very half of readers Shriver complains her publishers ignore in their marketing of her books. I’m a man. I have bought and read lots of books by women. Some of them are about women. Jung Chang’s Wild Swans is the most gripping biography / autobiography I have ever read. The Shock Doctrine by Naomi Klein is the best book about politics and economics I have encountered in years. One of the finest novels it has been my pleasure to enjoy recently was Affinity by Sarah Waters. Admittedly I’ve not read any books by Lionel Shriver, and the thing is, now I don’t feel inclined to. As Lionel says, men don’t buy books by and about women. The message for writers – don’t insult your potential readers if you want to sell books.